publicity in art

8/14/2019 Publicity in Art

http://slidepdf.com/reader/full/publicity-in-art 1/8

La Publicite dans l'art Publicity in art

It is especially through advertisement , direct relationship of Painting, and through commercial break which belongs to the field of motion picture that can be treated the relationships of publicity with art. By theadvertisement , which marked its true beginnings, publicity is certainly of artistic origin, but, as it developedin a divertified way, it was pushed into a ghetto which could well correspond to the "unconsciousness " of art.

By its only existence, publicity clashes head-on the scale of social value put in place from the concept of a"pure" art. owever, many of its expressions are as convincing as works which are supposed to be born froma need of creation. !he udgement which strikes advertising creation is evasive for it is based , according toneeds of demonstration fostered with apriorism, on arguments sometimes aesthetic, sometimes sociological,sometimes economic, even moral, without any particular indication on the transition from ones to the others.

!he relationship between publicity and art, failing to be stated in a coherent way, gives pretext to shortevocations which tend either to minimi#e the advertising works $ by describing it as %minor& arts $, or toreect it by blaming it to be bearer of an original fault, the one to have been engendered under the sign of themercantilism. Publicity introduces in the established order of art an irresolution which is not near to beovercome but which can turned out to be productive in a critic attitude .

A way of expression related to writing

Publicity is at the start a writing, then an illustrated writing, finally a visual message intended to makeavailable, in the most immediate manner, most concise, a slogan, a product, a mark... !he ideal goal, seldomreached, being to transform writing into an exclusively plastic message, thanks to which all the data would be

perceived simultaneously. %'ven in the least figurative works and most stripped of religious contents,artist isa creator of a message( it exerts through the forms a symboli#ing function which bores elsewhere in the musicor the langage& )*ndr+ eroi-ourhan.

modern advertising art was born from the development of the lithography at the XIX th century

In the first advertisement full of imagery, written information and its illustration are uxtaposed, then thegraphic designer endeavours to set something down writing in the composition of image. *s soon as an idea,a product or a political idea stand out and could be of a better use with the support of an image, the person incharge of an advertising campaign or policy calls upon artists.*t first, because those appear to be able toinvent images, then because they are ready to use the techni/ues of engraving on wood, of the lithography...!he latter, in particular, after having been used for %d+mocrati#ing& the masterpieces , became an originalmode of creation. *rtists like 0aumier, 1anet, avarni, 2ham, randville, !oni 3ohannot, Bertall.. evenfound a style adapted to the lithography. it is thus to famous skilful creators it will be re/uired the firsillustrated advertising works .

0aumier

Chéret creator of a new popular art

*t the beginning , the image is %edged& by the text. !hen, gradually, thistext will be regarded as an integral part of the general composition. !he

poster of 4alentino ballroom, created by 2h+ret in 5678, testifies thealliance of the writing with the image in a final unified composition. 2h+retwill have the appearance of a creator of new popular art . 0uring its training

of lithographer in 'ngland, it had seen the large posters of the *merican Barnum circus, then on tour, he

understood all the party it could draw from to create a new type of fresco. 0uring all its life, he was inspired by the flight of lyricism of iambattista !iepolo whose reproductions decorated the walls of its studio. isintention was well to make art



Ice palace of 2h+ret Pastilles of 2heret 569:

;ill his art find for as much favor to the eyes of criticism< =ne can doubt it with the reading of a text thatuysmans, spirit however %open-minded&, devotes to the exhibition of 5679> % ?or me, I would like better allthe rooms of the exposition plastered with 2h+ret@s colourprints or with these marvellous sheets of 3apan

which are worth one franc the part, rather than to see them mottled thus by a sad cluster of things. 1ay odget art palpitating and may live, for imA and into wastepaper basket all religious trinkets of old timeA intowastepaper basket all these bootslicker things made by 2abanel and +rmeA& ) modern art ,5re +d., 566C,Dtock. *dmittedly, the %lithographs& of 2h+ret are preferred so that uysmans regards as bad painting, butthat does not confer to them therefore dignity of masterpieces .

Toulouse Lautrec - posters located at the border of painting and caricature

!oulouse-autrec, Bonnard, 4uillard, Dteinlein divide their activities between graphic creation of advertisingnature and %pure& pictorial creation.

=nly the posters of the first will be really recogni#ed like the e/ual ones of its others works . It is true they arein the keeping with a vision which constitutes an exception in painting history . ;ith autrec@s works, locatedat the border of painting and caricature, historians and critical agreed to see art break out a bit and live.

ana d!Avril de

toulouse-Lautrec "#$% &ruant de Toulouse-

Lautrec "#$%

le rire deToulouse

Lautrec "#$%

'tes-vous sages de

Toulouse Lautrec

Alphonse (aria ()C*A +"#,-"$.$/ and 0ew Art



Born in !chhecoslova/uia he is one of the new art fondator. !he movement started in the years 569E and was prolonged until 595E. !his *rt aimed to take the opposite course to arts of FIFe century which took as astarting point the the past. It touched many disciplines> illustration, ewellery, forks and spoons, pieces offurniture and especially architecture.

!his art was to be for all people and neither for an elite. *rt was to also make the utility pleasant. 1ucha@smeeting with Darah Bernhardt who wanted a poster for her ismonda show was for him a priceless chance

which he sei#es. is fame became international and he carried out many posters of shows and of productssuch as beer of the 1euse, cigarettes paper 3ob, the 1oGt champagne and of the products of luxury.

Papier cigarette 3=B *ffiche de sarah bernhard dansimonda

BiHre la 1euse

Advertisement tool of propaganda

;ith the war of 595-5956 comes the period from propaganda. !he advertising executive, the caricaturist believe, there still, to make work of improvement . Dteinlein, Jaemeckers, *bel ?aivre thought, indeed, ofachieving a work of information by putting their talent at the serviceof an order they fought. Perhaps this war,

by the exaggerations and the lies it caused, marks it in a decisive way separation between the image and thetruth which was supposed to represent. !he means separate definitively from the ends and ac/uire their ownlogic which little by little will be constituted in rules of persuasion, independently of the causes to bedefended.

?uturism was the only movement which, in its will to take into account the most aggressive demonstrations ofthe contemporary world, took an interest to publicity. ?ortunato 0epero )5698-59KE wrote even in 59C8 a

futuristic proclamation of the advertising art, after having carried out advertisements and figurines, in particular for 2ampari.



0+sarment de 2arlu 59C8 Jecrutement de ?aivre Jecrutement LD* guerre 5-56

Propagande de ?aivre

1ublicity 2 under tow 3 of art

0uring the years 598E, *dvertisement takes again its breath, this time under the crook of the cubism andappears through celebrities like lei#es and 1et#inger. 1aor advertising achievements then will see the day(they are signed 2assandre, 2harles oupot, Paul 2olin, 2arlu, in ?rance, 1c knight-Mauffer and *shley*vinden in the Lnited Dtates and in 'ngland, BirN in ungary... !he near total of the publicity of this time -either the advertisements or to the ads appearing in the reviews and the programs of theater $ testifies a willof regain to submit obects and decorations to a single style>

!he *rt d+co the advertisement for the railway "Otoile of the orth" of 2assandre or thorough styli#ations ofa 2harles oupot for the drink "JaphaGl"not only did not shock anybody, but stand out right away as visualevents

ouate thermogHne de2appiello 59E7

Bas Jevel de 2appiello 5989 chemin de fer de2assandre 5989

Japhael de oupot59:



1onsavon au lait deDavignac 599

le #Hbre c+lHbre de cin#ano par Davignac 59:5

les parents boivent lesenfants... de 4illemot

59:7

I#arra de 2olin 59K5

1ublicity4 a pop art wor5

the artists of the years 59KE will draw from the urban landscape and its advertising decoration. !he cans of2oca-2ola or 2ampbell soup, for example, works of advertising designers , either will become elements ofstill life, or to be used ust as they are like ready made. In the pop art works , the presence of a tin of 2oca-2ola belongs to the provocation because the standard packing is by itself only a promise of destruction. Inthis context, the introduction of publicity in the works creates, within art, a fracture.

Campbell de andy 6arhol "$,# 7od5a de Andy 6arhol (ac5intoch de Andy 6arhol

8urrealism in support of publicity

surrealism with 2hirico, 1ax 'rnst, 0alQ and especially 1agritte was going to throw the disorder and to giveto the publicity ambiguous weapons. 1agritte occurred. Painter without esthetics, painter who was not one,

philosopher rather and even linguist, who created shifts between the obects and their designation, the obects

and their representation. o other artist was used with less scruple. is skyes, his clouds, his doves, his rainsof men capped with a bowler hat, his faces hidden behind an apple,his marble armchairs, his grelots... eitherwas taken again ust as they are, or plagiari#ed e placed at the disposal of the advertising executives and the



editors a repertory of all purpose obets and situations. Dituation basically paradoxical than himself made publicity %for living... &.

ubu de 1ax 'rnst 4oix de l@espace de 1agritte59C5

2olombe de 1agritte 59KC

1ublicity and Art

!he advertising executive is related to one present which, by advance, dis/ualifies him to the eyes of the artlover. is activity, openly commercial, is devalued on the aesthetic level, always in the name of essence.0idn@t an art critic go upto /ualify advertising image as a %prostitute&< But is the art related to a cause, with acertain type of sponsorshiphe not itself a prostitute< ;hat to think of the portraitists obliged to flatter their

models and who nonetheless reali#ed paintings regarded as masterpieces<

The 2artisti9ue3 value bestowed on a wor5 is also due to its uni9ue feature:

!he artist who uses the lithography or engraving works for the number, while limiting the /uantity ofspecimens put on the market. !he techni/ues employed are then regarded as prolongations of painting and arenot regarded as simple reproductions, insofar as the specimens number in circulation remains more close tothe single specimen than to the great /uantity . owever publicity is placed under the sign of the /uantity:



!he domes of Mlee 595 visit the french riviera of4illemot 59K7

"'toile du nord"of 2assandre5987

*rt and publicity have different modes of appearance . Pure *rt is credited of profoundness, publicity aims atsuperficial. evertheless, once its function achieved, publicity becomes, by the track it leaves, e/ual to *rtand, for this last, a scandal. ;hat then separates them is no more in the field of the visible one.

publicity in art

Documents